A gold-lacquer Shibayama-inlaid and cloisonné-enamel rounded-rectangular tray
By Nakayama Teimin (Gosokusai, born 1848), Meiji era (1868-1912), late 19th/early 20th century
By Nakayama Teimin (Gosokusai, born 1848), Meiji era (1868-1912), late 19th/early 20th century
Raised on four bracket feet, lavishly decorated in shell, natural wood and shell takamaki-e with an exotic long-tailed bird applied in cloisonné enamel, perched on a branch of flowering cherry blossoms, bordered by rich and dense okibirame flakes; signed in an elaborate shell rectangular reserve Gosokusai Teimin; with a plain wood storage box. 2.2cm x 33.5cm x 25cm (5/8in x 13 1/16in x 9¾in). (2).
At the beginning of his career Nakayama Teimin, who was born near the Sensoji Temple in the Asakusa district of Edo, worked with his father as a busshi (sculptor specializing in Buddhist images). He later became a specialist in the multimedia inlay technique referred to today as Shibayama work and from 1869 onwards worked for Ozeki, a trading company specialising in craft items for export. His works were exhibited at the Naikoku Kangyo Hakurankai (Domestic Industrial Exhibitions). The artist is recorded by Takao Yo, Kinsei maki-eshi meikan (Dictionary of Early-Modern and Modern Lacquerers' Signatures)' in Rokusho 24 (March 2005), p.112.
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By Nakayama Teimin (Gosokusai, born 1848), Meiji era (1868-1912), late 19th/early 20th century
By Nakayama Teimin (Gosokusai, born 1848), Meiji era (1868-1912), late 19th/early 20th century
Raised on four bracket feet, lavishly decorated in shell, natural wood and shell takamaki-e with an exotic long-tailed bird applied in cloisonné enamel, perched on a branch of flowering cherry blossoms, bordered by rich and dense okibirame flakes; signed in an elaborate shell rectangular reserve Gosokusai Teimin; with a plain wood storage box. 2.2cm x 33.5cm x 25cm (5/8in x 13 1/16in x 9¾in). (2).
At the beginning of his career Nakayama Teimin, who was born near the Sensoji Temple in the Asakusa district of Edo, worked with his father as a busshi (sculptor specializing in Buddhist images). He later became a specialist in the multimedia inlay technique referred to today as Shibayama work and from 1869 onwards worked for Ozeki, a trading company specialising in craft items for export. His works were exhibited at the Naikoku Kangyo Hakurankai (Domestic Industrial Exhibitions). The artist is recorded by Takao Yo, Kinsei maki-eshi meikan (Dictionary of Early-Modern and Modern Lacquerers' Signatures)' in Rokusho 24 (March 2005), p.112.
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